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<h1>
    RADIOHEAD
</h1>

<div class="quote">
    "Pink Floyd rip-off my arse."<br />

    <img alt="Phil, Thom, Jonny, Ed and Colin" src="images/radiohead.png" />
</div>

<div class="members">
    Phil Selway, Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood<br />

    <a href="http://www.southparkstudios.com/games/create.html">South Park Create-A-Character</a>
</div>

<p class="albumList">
  <a href="#honey">Pablo Honey</a><br />
  <a href="#bends">The Bends</a><br />
  <a href="#computer">OK Computer</a><br />
  <a href="#a">Kid A</a><br />
  <a href="#amnesiac">Amnesiac</a><br />
  <a href="#thief">Hail To The Thief</a><br />
</p>

<p>You can call me a dork for saying this, but for me, Radiohead <em>is</em> the best band of the 90's. No Pearl Jam, no Nirvana, no Blur, much less Oasis. Radiohead is, and will always be, the best band of the maligned decade of the 90's. Oh, sure everybody praises them to death. Everybody says <strong>OK Computer</strong> is one of the best albums ever, that Thom Yorke is one of the best rock singers around, that they're like Pink Floyd of their generation. And of course, while there are people who love to rave endlessly over the band (and people like that will <em>always</em> exist), some people just say they're "whiny and pretentious," i.e., all the bullshit that's said about 90% of such bands. Me? I always like to stand in the middle and analyse closely. And what do I see in Radiohead?</p>

<p>I see a band that were not afraid of evolution. Take a look at their debut, <strong>Pablo Honey</strong>: pure guitar alt-rock. Oh, sure, 'Creep' is probably their biggest hit in the US. But that's nothing but pure alt-rock. They could have stood on the very same ground forever, after all, many had done just that. But no, this wasn't their destiny. They were interested in expanding their ground, pushing their limits forward. And the result is the amazing streak of albums they produced. They sharpened their songwriting, enhanced their arrangements, brought in keyboards, electronica stuff, and all of this culminated in one of the band's greatest masterpieces ever, <strong>Kid A</strong>.</p>

<p>You see, they aren't afraid of making art. Yet, they don't take it too seriously. They still remain unpretentious and humble. After all, isn't 'expanding boundaries' and 'pushing forward limits' the <em>least</em> you could expect from a musician? They're just doing their job, and all the glory thrown over them didn't go straight up to their heads. Many bands were just as revolutionary back in the 60's and the 70's, and Radiohead are just doing their part. It ain't them that are special, it's the others that just don't go anywhere.</p>

<p><a href="mailto:sirmustapha@gmail.com">Mail your ideas</a>!</p>

<hr />

<h2 id="honey">Pablo Honey (1993)</h2>
<p class="medium">
  Best song: <big>Creep</big><em>, now call me futile.</em>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>You <span class="good">+</span></li>
  <li><span class="good">Creep ++</span></li>
  <li>How Do You? <span class="good">+</span></li>
  <li><span class="good">Stop Whispering ++</span></li>
  <li>Thinking About You</li>
  <li>Anyone Can Play Guitar</li>
  <li>Ripcord <span class="good">+</span></li>
  <li>Vegetable <span class="good">+</span></li>
  <li>Prove Yourself</li>
  <li>I Can't</li>
  <li>Lurgee <span class="good">+</span></li>
  <li>Blow Out <span class="good">+</span></li>
</ol>

<p>Yup, the story of Radiohead began with <em>this</em> album, that doesn't detract one little inch from the Alt Rock formula... Okay, that's unfair to say. It is clear that, from the beginning, the guys <em>were</em> worried in making music that carried their identity somehow, and in making <em>unpredictable</em> music, too. So, whenever you hear a strange time signature, hellish guitar noises, or interesting songwriting twists, you won't get the impression they are all <em>gimmicks</em>. Indeed, Radiohead proved that they handled <em>well</em> their songwriting business.</p>

<p>And, in fact, this album is exemplary. These kids are extremely competent songwriters, and out of these twelve tracks, I can't name <em>a single</em> below average tune. And that's a wonder, considering the rule of the 90's is to write a thing or two that impresses people, and then <em>stuffing the rest of the CD with that much filler</em>, so you either have dozens of totally unworthy tracks or <em>horribly</em> overlong tracks. Radiohead evades this trap very well: the album is but 41 minutes long, and several of these songs are mercifully short. And the ones who aren't have their length justified. Well... in fact, only one track goes over five minutes, and it is 'Stop Whispering' - the song that best exemplifies the record. It starts off as a normal, beautiful pop tune, with tasteful vocal melodies and competent playing. But halfway through, after a tense, quiet mid-section, the song takes off with <em>so</em> much power and <em>so</em> much loud, distorted guitars, that it seems the guys will put an end to everything. But the final result sounds like a professional artistic statement from a talented band rather than a bunch of noise from a bunch of punks. That is: this is not "art-rock", since all the energy and youthful is here, but it is extremely well written, and I can't picture anyone dismissing it as "commercial crap" - even though 90% of Radiohead fans agree that this is their weakest album, and some consider it really weak.</p>

<p>Of course, this is not the <em>ultimate</em> alt-rock album. I might be fooling you with so much praise, but it is truly surprising to see an album like this coming out in 1993. Still, I must admit that the music here is far from "unique". No matter how much identity and personality the band reflects in the music, the genre of the music is still absolutely recognisable. 'Ripcord', 'Creep', 'Prove Yourself'... this is all 90's guitar rock. But most of these tracks deserve mention, nonetheless: 'Creep' has a totally devastating message, and the amount of emotion Thom puts in those lyrics is truly impressive. Remember, this is Thom, the young screamer, not T. Yorke, the cold Pink Floyd rip-off. 'You' invites you to the land of guitar arpeggios and odd time signatures and all, 'How Do You?' lasts for no more than two minutes and ten seconds, and ends with a funny, weird guitar noise fiesta. 'Vegetable' is a fairly beautiful electric "ballad", and 'Thinking About You' is a fairly beautiful acoustic ballad. The closing songs are also nice: 'Lurgee' is nice in its gentle slowness, and 'Blow Out' really puts an end to the album for good, with an onslaught of nutty guitar howls in the end. Cool.</p>

<p>Then you have your less impressive tunes, like the short 'Prove Yourself', the fairly catchy 'I Can't'... and I will never be able to understand the deal with 'Anyone Can Play Guitar'. It has a biting lyrical theme, it has a bitter delivery, slow vs. fast parts... but it's so short, and just as the guitars start to have fun, the song fades out! What the heck? Oh, well. I rate this album relatively highly, because I dig and respect the music. This is not the "land of outstanding music", like <strong>OK Computer</strong> and such, but it is a thoroughly enjoyable listen. Recommended.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Yup, good music abounds.<br />
  <big>Resonance:   <strong>12/15</strong></big> - Oh, yeah. They do keep that "cold" delivery even here, but the amount of fire in these songs is impressive. The guitars, the vocals...<br />
  <big>Originality: <strong>10/15</strong></big> - Err, I won't kid you here.<br />
  <big>Richness:    <strong>11/15</strong></big> - There <em>are</em> melodies, though a couple of them are rather predictable.<br />
  <big>Solidness:   <strong>11/15</strong></big> - Yeah... yeah.
</p>

<p class="ratingFinale">
  Total: <img src="images/11.png" alt="11">
</p>

<p>You can send me your comments <a href="mailto:sirmustapha@gmail.com">here</a>!</p>

<hr />

<h2 id="bends">The Bends (1995)</h2>
<p class="medium">
  Best song: <big>Just</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Planet Telex ++</span></li>
  <li>The Bends</li>
  <li>High And Dry <span class="good">+</span></li>
  <li>Fake Plastic Trees <span class="good">+</span></li>
  <li>Bones</li>
  <li>(Nice Dream)</li>
  <li><span class="good">Just ++</span></li>
  <li>My Iron Lung</li>
  <li>Bulletproof... I Wish I Was</li>
  <li>Black Star</li>
  <li>Sulk</li>
  <li>Street Spirit (Fade Out) <span class="good">+</span></li>
</ol>

<p>Yup, this is the album that made Radiohead big. Well... not exactly. It <em>helped</em> them to become big, that's for sure. It's kind of a transitional album, even though they weren't <em>aiming</em> towards a transition. They are merely trying to be original. And this <em>is</em> an original album, that's for sure. Problem is, it's not just very good. Yeah, I know that some kids <em>rave</em> about the album, I know. But <em>why</em>? What is in this album that makes it <em>so</em> special? Of course it's got great songs, but it's <em>nowhere</em> near a masterpiece.</p>

<p>I have to admit it, though, that this is a bit of personal bit. I just hate this album even more every time someone fawns over it. Okay, not <em>hate it</em>, but I become frighteningly indifferent towards it. And this might be the reason why I'm able to <em>like</em> <strong>Pablo Honey</strong> more. Radiohead's debut was just a nifty little album, without any high ambitions really, but still nice and enjoyable. <strong>The Bends</em> have high ambitions APLENTY, and kids love it insanely. And I'm unable to properly like it mostly because of that. I know it's pretty respectable that the band was taking their songwriting talent and trying to expand it into something fresh, more varied and more refined. But this album neither stays completely in the <strong>Pablo Honey</strong> area nor move on to something completely new: this album is right inbetween the two. It's dead in the middle.</p>

<p>As such, tracks like 'Sulk' and 'Black Star' really try to be serious and everything, but... I've seen this stuff before, and it used to be more enjoyable. Meh. I <em>really</em> don't like 'My Iron Lung', you know - it has something to do with that horrid guitar sound in the intro that bends my brain in two (you know, it's not intentional, challenging ugliness that triggers your brain in an interesting way... It's like an awful MP3 conversion), and the song doesn't really do much to me. And I only mildly like 'Nice Dream'. It kind of works as a sort of weird, mopey ballad, but that bombastic "rock" part gets old quickly.</p>

<p>Oh, but there <em>are</em> good tracks here, you know! They're there, and it means the album is not a disaster. I never said it was, you bastard. Anyway. 'Planet Telex' is pretty great; a drunk song in every sense, brilliantly written and performed. And 'Just' is... well, as the band said, it was an attempt to stuff in as many weird chords as possible into one song. But it works! It's bitter and it rocks, and the chord changes don't make it disorienting: it just makes it <em>arrogant</em>, just the way it should be. The most beloved 'Fake Plastic Trees' is quite glorious, too. It may look like a pompous, bombastic statement, but to <em>me</em>, the essence of the song itself is simple. It's a beautiful melody, a very sad statement that gains momentum with each of its three verses, and explodes into the loud, smashing climax in a most natural way. It's melancholia sounding important, but not overstated.</p>

<p>I also like the poppy bouncy rocky title track. It's oddly <em>playful</em> in a way. 'High And Dry' is just a lovely pop ballad. It might be a little generic, but I still prefer a "generic" and BEAUTIFUL Radiohead track, than an "experimental" mediocre one like 'My Iron Lung'. That's just <em>me</em>, of course, but hey, this is <em>my</em> site. 'Bones' is a bit too underrated to me... I dunno, I always liked the "engine" synthesizer sound and the poppy melody of the song. And I also like the atmospheric, beautiful 'Bulletproof', with those creepy guitar chords clashing against the cynical "pleasant" guitar strumming. 'Street Spirit' took quite a long while to grow on me... and to tell you the truth, I don't <em>love</em> the song, but there's no denying it's very, very beautiful, without trying hard to be "gorgeous".</p>

<p>Oh, really, if I want to be honest to you, I'll say I don't like this album. You know, I don't like the <em>album</em>, though some songs in it are great. And I'm certainly going to offend many people for rating it lower than <strong>Pablo Honey</strong>, but you gotta understand: I'm just not obliged to prefer albums just because they represent "artistic growth". When I listen to albums, I don't want to hear "artistic growth". I want to hear "music". So, there you go. Take your 10 rating and throw it in the toilet. You're probably not going to care about it. Really, if you do make a big fuss because I don't like it, then you're a loser. I'm only a reviewer, not the Grand Music Lord of the Universe.</p>

<p>But still, mail me comments! I <em>do</em> care about YOU think!</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>11/15</strong></big> - Some individual songs boost this rating up a little.<br />
  <big>Resonance:   <strong>10/15</strong></big> - Umm... naah. Radiohead are not fully developed yet to stimulate my brain seriously.<br />
  <big>Originality: <strong>12/15</strong></big> - Ok, ok, I WILL be modest here.<br />
  <big>Richness:    <strong>11/15</strong></big> - Ehn.<br />
  <big>Solidness:   <strong>9/15</strong></big>  - Oh, please, no. I can't really listen to this album at all.
</p>

<p class="ratingFinale">
  Total: <img src="images/10.png" alt="10">
</p>

<p><em>Reader comments:</em></p>

<div class="commentsHeader">
      <strong><a href="mailto:awoehrel@netcarrier.com">Andrew Woehrel</a> (August 2, 2003):</strong>
</div>

<div class="comments">
<p>You said that <strong>the Bends</strong> was the most "highly praised Radiohead album, the most praised album of the Nineties!!"...how out of touch are you to the Nineties? Jeez, I mean...Jeez. Anyway, I havent heard much at all about <strong>the Bends</strong>. I think <strong>OK Computer</strong> is the most highly praised. It's in almost every "Top 90's Albums" list, usually near the very top. I never see <strong>The Bends</strong> in any of these lists. I think <strong>OKC</strong> is overrated, but I still love it. or maybe I'm just bitter because the masterpiece "<strong>Siamese Dream</strong>" is neglected.</p>

<p><span class="edNote">[editor's note: Yup, I did say these things in my previous review, but like I said - there are <em>so</em> many kids who consider this "a classic", and even say that "every single song is a classic". Whatever! A classic this album is <em>not</em>. And yes, critics tend to prefer <strong>OK Computer</strong>, but still, people tend to have a fetish towards this album, and I will never be able to comprehend it.]</span></p>
</div>

<p>Everything is... <a href="mailto:sirmustapha@gmail.com">mailing</a>... Everyone is... <a href="mailto:sirmustapha@gmail.com">mailing</a>...</p>

<hr />

<h2 id="computer">OK Computer (1997)</h2>
<p class="medium">
  Best song: <big>No Surprises</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Airbag ++</span></li>
  <li><span class="good">Paranoid Android ++</span></li>
  <li><span class="good">Subterranean Homesick Alien ++</span></li>
  <li>Exit Music (For A Film) <span class="good">+</span></li>
  <li><span class="good">Let Down ++</span></li>
  <li>Karma Police <span class="good">+</span></li>
  <li>Fitter, Happier</li>
  <li>Electioneering <span class="good">+</span></li>
  <li>Climbing Up The Walls</li>
  <li><span class="good">No Surprises ++</span></li>
  <li>Lucky</li>
  <li><span class="good">The Tourist ++</span></li>
</ol>

<p>This really isn't the best time to write a review. There's way too much noise and talking on the telephone, and it distracts me. Every word and every complaint and every whine is a slap on my brain. It's annoying. It's terrible, and I hate it. What's worse is that, when I say I seriously want to live a few years <em>alone</em>, away from them, they get offended. But I need actual isolation. I <em>need</em> solitude. It's not just a question of getting rid of them - it's all about having some time to <em>myself</em>, to get attuned to my own mind, my habits, my personality and my tastes. It's tough when you're not free to truly be who you want to be. My mother hates my hair, because it's big and curly and messy. My sister feels some kind of odd pleasure when she ridicules me. I actually want to go away, far away, and be myself. <em>Of course</em> I'll feel lonely eventually, but until then, I'll benefit a lot from my own company. I can have loud music, a mildly messy room, Bob the Builders and Lisa Simpsons all over the walls, and everything. I'll be working, paying my bills, and hopefully helping the others as much as I can.</p>

<p>But not for now, as I'm still stuck here. Maybe this would be a good time to listen to <strong>OK Computer</strong>? You know, after all this time, I'm still in doubt whether I should consider it a "depressing" album or not. It's kind of tough dealing with Radiohead from this point: their music has that cold, detached feeling, but you never know whether it's sincere, and Thom Yorke is a really fucked up person, or if this is just an artistic statement, and Thommy is a nice, happy guy after all. And so many people talk about this album like it was the ultimate masterpiece of depression or something. They're not The Cure, you know: they don't have an image to preserve. They're just Radiohead, and this is <strong>OK Computer</strong>, one of the biggest musical landmarks of our generation.</p>

<p>You know, there's no denying this is a BIG, important album, and that it deserves all the talk it gets. But Thom Yorke himself can't stand it, <em>exactly</em> because of how important it became. And all sorts of questions arise: is it overrated? Is it even good? Is it revolutionary or derivative? And to these questions, I have one answer: <em>I don't know</em>. I just can't tell. I don't work on the All Music Guide, I don't write for Pitchfork Media, and I'm not hired by Rolling Stone. Talking and knowing about music is not my job. So, what do I do? I'm a mediocre person when it comes to music. I only have opinions and words (very sharp and biting words at times, I know). And <em>my</em> opinion is that this album is damn brilliant. And I don't care about "lack of originality", but this <em>is</em> my favourite Radiohead album, and damn deserves a 15. And why? Because it's artsy and complex? No, not really. It's very simple, in fact: the music is brilliantly written, and that's all. This album has some of the best music I have ever heard. And it also helps that the album is so well connected and built, and the songs all <em>say</em> something. But I don't put the message above the music: it's the <em>songs</em> that catch me.</p>

<p>And finally, they gave up the artistic shyness of <strong>The Bends</strong> and threw keyboards, synthesizers and refined production <em>for real</em> into their rock style. But this is neither electronica with guitars, nor alt rock with keyboards. This is a <em>real</em> crossing of the two trends. It's not "dead in the middle", like <strong>The Bends</strong>: it's actually in both places at the same time, if you know what I mean. And for some odd reason, things are really almost perfect here: Thom's painful singing and faux-nonsense lyrics; the abusive guitar work; the echoey, deep and cold sound of everything; the production; the touching melodies; everything. It all works. But the question is, does it work by <em>accident</em>, or did the band truly knew what they were doing? Again, my answer is <em>I don't know</em>.</p>

<p>In the end, all the "important" talk about the album doesn't reach me. What I can say is what many other people have said already: 'Paranoid Android', 'Subterranean Homesick Alien', 'Let Down' and 'Karma Police' are fantastic songs. And you might disagree with me, but I don't think they're gimmicky at all. 'Paranoid Android' is a crossover of different song ideas, turned into a "mini epic" of sorts. But the genius of the songs doesn't lie in the crossover of ideas per se - it's the way they complete and interact with each other. I don't think you <em>really</em> can dislike that gruesome, bitter riff and Thom's ranting over it, or the heavenly, plaintive "rain down on me" chants, unless you counsciously try hard to do so. 'Subterranean Homesick Alien' combines some of the most beautiful guitar work the band ever did: UFO-like sliding, the main arpeggiated "riff" of the song, and the classic intro and outro. 'Let Down' brings even more mindblowingly beautiful work, this time with a guitar arpeggiating in a "wrong" time signature. Thom's doubletracked vocals, the hooky chorus, and the Z-80 randomly generated sounds only help. And while I don't love 'Karma Police' nearly as much as other people do, I must say it's a fantastic angry "ballad", with piano, android vocals and that scraping guitar in the finale.</p>

<p>It's useless just to mention the "tricks" the band plays in these songs. They're not the BIG FEATURES of the album, but they're just noteworthy because of how well they work in combination with the pop melodies and solid band work. There are some "gimmickier" songs here, and others are more "pure", but it's truly not a big deal. 'Climbing Up The Walls' tries hard to be scary and paranoid. It kind of misses me completely, to tell you the truth, I don't know why. It's slow and plodding, the vocals are very strange, and there are grating sounds of guitars and strings. But, eh. On the other hand, there's 'Airbag', one of the most impressive songs here. It's just amazing how they combine ragged, jagged and broken rhythmic patterns and guitar sounds to amazing effect. Riff and vocals are brilliant as usual, and overall, it's one of Radiohead's most interesting "pop" attempts. 'Exit Music' is famous because of its inclusion on the blockbuster <strong>Romeo + Juliet</strong>, but the music is <em>FAR</em> better than the movie. It's an extremely dark acoustic ballad, but that grows to unbelievable heights with a fuzzy bass sound, drums and Mellotrons. 'Lucky' is a funny affair: it's a <em>happy</em> song by Radiohead's standards, but if you ignore the lyrics, there isn't anything happy about it at all. Compared to the other songs, it's a bit indistinct, but if this were on <strong>The Bends</strong>, it would be a highlight.</p>

<p>Some hatred is directed towards 'Electioneering', and well, I can see the results. It's a kind of "pedestrian" rock 'n' roll track, and doesn't "fit in" well in the album. But I actually think this album NEEDS the jarring contrast the song makes. Yeah, maybe the <em>song</em> itself isn't a masterpiece, but I like its presence here. And, of course, 'Fitter Happier' is maligned aplenty. But, heh, its presence here is <em>essential</em>. You may not like listening to it, but you must acknowledge the presence of that synthesized voice speaking out that brilliant text, backed by weird, hazy noises and piano. It's a really great idea, you know. But back to the music, I haven't even spoken about 'No Surprises'! You know, it's the least "strange" song here, but it's, by far, the most devastating song Radiohead ever did. At least to <em>me</em>, it is. But the child-like music box melody, the sad sound of the instruments and Yorke's singing give the song a terrible, heartbreaking mood of impending doom. It's unexplainable.</p>

<p>Well, it is <strong>OK Computer</strong>, an album you definitely GOTTA have, like it or not. I really can't say I love ALL tracks here (though I love the often underrated 'The Tourist', with its spacey, low rhythm and gorgeous, climactic choruses), but I truly love the album for what it is. It's wonderful. Overrated? Eh, who cares. At this point, you <em>must</em> have the album anyway, so I'd better not discuss about whether it's overrated or not. Just have it and listen to it for yourself. That's the best way you can understand what I'm saying here, so whatever.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>15/15</strong></big> - Hoo, boy.<br />
  <big>Resonance:   <strong>15/15</strong></big> - This is stuff that really messes with your brain.<br />
  <big>Originality: <strong>14/15</strong></big> - An obvious step forward in new and original stuff.<br />
  <big>Richness:    <strong>15/15</strong></big> - Gold, pure gold. It's almost too rich for its own existence.<br />
  <big>Solidness:   <strong>15/15</strong></big> - Beats <strong>The Bends</strong> to a pulp.
</p>

<p class="ratingFinale">
  Total: <img src="images/15.png" alt="15">
</p>

<p><em>Reader comments:</em></p>

<div class="commentsHeader">
      <strong><a href="mailto:awoehrel@netcarrier.com">Andrew Woehrel</a> (June 20, 2004):</strong>
</div>

<div class="comments">
<p><strong>OK Computer</strong> (1997, Capitol)<br />
Radiohead<br />
Best Song: Paranoid Android</p>
<ol>
<li>Airbag<span class="good">+</span></li>
<li><span class="good">Paranoid Android++</span></li>
<li>Subterranean Homesick Alien</li>
<li>Exit Music (For a Film)<span class="good">+</span></li>
<li>Let Down</li>
<li>Karma Police<span class="good">+</span></li>
<li>Electioneering<span class="good">+</span></li>
<li>Climbing Up the Walls</li>
<li>No Surprises</li>
<li>Lucky<span class="good">+</span></li>
<li>The Tourist</li>
</ol>

<p>Okay, here we go. Picked by Q magazine as the best album of the last 15 years (in 2000, I believe, making it since 1985), I can't help but say, it's a little overrated. But nonetheless. 'Airbag' is a jagged opener, featuring a cello, a chaotic sound, and some awesome basswork from Mr. C. Greenwood. I love how it segues into 'Paranoid Android', possibly the best Radiohead song ever. At 6 minutes, it's a shifting mini-progressive epic, going from an eerie acoustic beginning, to the rocking middle, complete with a crazy J. Greenwood guitar solo, to the powerful finale, with Thom's empassioned vocals, and a feeling that almost conjures the rain, ending in a chaotic guitar finale. WHATTA SONG. On the days I feel like bashing Radiohead, I take a listen to this baby. Damn. Rock on, Jonny Greenwood!<br />
People say that 'Subterranean Homesick Alien' is gorgeous, but it seems silly and pretentious to me. My main problem with Radiohead is in fact Mr. Thom Yorke. He just comes off as snobby, and pretentious, a man who wants to be a genius so badly that he surrounds himself with talented men. sure, he's a good singer, maybe even great, but great singers are much more common than men like Mr. Jonny Greenwood. Jonny is what makes Radiohead a band I can enjoy, he's truly a talented man. Thom's angsty lyrics don't bother me when I'm listening to Jonny's great melodies and effects, like his ever-so pretty UFO guitar on 'SHA'. Which brings us back to the review. 'Exit Music' used to be my favorite song by "DA HEAD" but now, eh. Sure, Thom's vocals are generally creepy, and the song has a cool atmosphere, highlighted by the fuzz bass climax, and ending with Thom's famous "we hope that you choke" line. Honestly, Thom isn't the great lyricist he's said to be. Most of the time I just find him downright, uh, cliche and overdramatic. 'Let Down' is a gorgeous pop song, 'Karma Police' is a wonderful acoustic ditty, that reminds me of George Orwell's 1984. 'Fitter Happier' is a weirdo little ditty in there that probably showcases the best Thom ever did, lyrically. At about this point, I'm reading your reviews of <strong>OKC</strong>, just to see what you said, and yeah, I noticed that "indie" kid remark. Radiohead is in NO WAY an indie band. Don't let Pitchforkmedia.com fool you. (It's a near-worthless site anyway.) None of the "experimentation" of this album can reach the heights of some indie rock masterpieces. Anyway, 'Electioneering' is a nice rocker for a change, with a cool riff and a gruff Thom delivery that';s not very typical of Radiohead. 'Climbing Up the Walls' is just WEIRD, 'No Surprises' is pretty, 'Lucky' is rockin' in a dark way, 'the tourist' is the big finale. Yeah, yeah, you all know this. You've all read this review before. YEAH, IT IS A FUCKING GOOD ALBUM. YES, IT PROBABLY IS ONE OF THE GREATEST ALBUMS OF THE 90's. I'd want to be the last to admit it, but it is damn good. Usually, I'm a subjective guy. My subjective side says "8, man. This is a step for mainstream, but the indie scene has SEEN THIS BEFORE. THAT'S LIKE GIVING <strong>NEVERMIND</strong> A 10, MAN!" However, my objective side sees the pretty pop tunes, the weird rockers, and the pure awesomenessosity of 'Paranoid Android', so, here you go.<br />
10/10. There's not a reason to NOT give it a great grade, it's truely a great album. Get it. If you don't like it, go buy some Guided By Voices and be an indie rocker. Fuck all this pretentious snobbery and high-tech production, and just make some awesome rock music, right? Yeah. That's the point of it all, ain't it? Just promise me you won't go buy Good Charlotte, Creed, or Limp Bizket.<br />
Final Rating:<big><big>10</big></big>.</p>
</div>

<p><em>Several months later...</em></p>

<div class="commentsHeader">
      <strong><a href="mailto:awoehrel@netcarrier.com">Andrew Woehrel</a> (January 29, 2005):</strong>
</div>

<div class="comments">
<p><strong>OK Computer</strong>- <big><big>10</big></big>
Best Song- Paranoid Android<br />
Airbag<br />
<span class="good">Paranoid Android ++</span><br />
Subterranean Homesick Alien<br />
<span class="good">Exit Music (For A Film) ++</span><br />
Let Down <span class="good">+</span><br />
<span class="good">Karma Police ++</span><br />
Electioneering <span class="good">+</span><br />
Climbing Up The Walls <span class="good">+</span><br />
No Surprises<br />
Lucky<br />
The Tourist<br />
and Radiohead? It's their fans that make me want to kill them. As I see it now, Radiohead's not trying to be pretentious or the saviors of rock, or anything like that. I think they're a bunch of talented music fans trying to make music that sounds like the music they like. Thom even admitted <strong>Kid A</strong> is a ripoff of Aphex Twin. So yeah. Airbag's a decent tune, Paranoid Android defines late-nineties mainstream rock. In a good way.  Subterranean is...pretty boring! Exit Music is hot, and creepy, and damn good. Let Down is good but not THAT good, like Karma Police is. Fitter Happier's not a song. Electioneering is a nice rockin' tune, Climbing Up The Walls is creepy and gothic, and the rest of the album is pretty boring. What a weak ending. But yeah, 10. The Good Stuff Is Good Enough. Certainly not as good as it's said to be, though.</p>
</div>

<p>Comments? "<strong>okc</strong> is overrated" remarks? <a href="mailto:sirmustapha@gmail.com">Mail me</a>!</p>

<hr />

<h2 id="a">Kid A (2000)</h2>
<p class="medium">
  Best song: <em>You pick one.</em>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Everything In Its Right Place ++</span></li>
  <li>Kid A <span class="good">+</span></li>
  <li><span class="good">The National Anthem ++</span></li>
  <li><span class="good">How To Disappear Completely ++</span></li>
  <li>Treefingers <span class="good">+</span></li>
  <li><span class="good">Optimistic ++</span></li>
  <li>In Limbo <span class="good">+</span></li>
  <li>Idiot&egrave;que <span class="good">+</span></li>
  <li>Morning Bell <span class="good">+</span></li>
  <li><span class="good">Motion Picture Soundtrack ++</span></li>
</ol>

<p>Well, the band goes "experimental" and "difficult". Reportedly, <strong>OK Computer</strong> caused real tensions and problems in the band. Thom Yorke starts to listen to Aphex Twin and, when the band got back together, they decided, once and for all, to drop everything that made them a "rock" band and start again, turning into a completely alien thing. <em>This</em> stuff is detached for real, but not in the sense of being "sad" or "depressing". No: this music comes directly from the brain of these guys. At times, it's almost like there aren't any instruments at all: you're listening to the brainwaves of the band members.</p>

<p>And, well... The enjoyment of the album will depend on how you listen to this thing: you can either think it's utterly fantastic, or consider it an overrated pretentious piece of crap. Me? Well, I love it. <strong>OK Computer</strong> is higher on my book, but only by a notch. I think this album is truly impressive, you know. I <em>love</em> the mood of this album: it's not really a personal thing. It's not catchy or fun, but it's <em>unbelievable</em>. I admit I generally have problems when a band are trying to <em>impress</em> me, but in this case, I have to give kudos to the band.</p>

<p>It's not very useful to talk about individual songs because, well, they're not supposed to be "songs" in this album. Everything is music, in the proverbial sense, but "songs"? Don't think so. But, well, I have to mention some of them, at least. To the uninitiated, I have to mention the two first tracks here. They truly have that "brain" thing going. 'Everything In Its Right Place' is kind of a mix-up of paranoid, depression, fear and anger, but everything is so blurry and disturbed, it turns into a completely different feeling anyway. The electric piano chords truly mesmerise you if you give in totally, and the synth noises, the loose voices and the WILD climactic effects are out of this world. And then, it fades away slowly, giving way to the almost instrumental title track. This one is more based on strange, child-like plinky melodies, and it has a computery feel. But not in a Kraftwerk way, mind: it's like Thom Yorke's brain turned into a computer, as he talks about... stuff. You know, the band said that most lyrics for the album were written by pulling out random lines out of a hat, and this does sound like it. "We've got heads on sticks, and you've got ventriloquists". People may want to find "meanings" in those lyrics, but to me, the actual <em>meaninglessness</em> of the lyrics hide the actual meaning: it's pure disturbance and haze. And, of course, the music is brilliant, so there.</p>

<p>After that, things get back to Earth <em>somewhat</em>. 'The National Anthem' is quite a brilliant idea, brilliantly executed. First, it's just an ultra funky bass line Thom bashes out. But then, arrive the brasses: dissonant, frightening screams of fear come out of those trumpets and trombones. It's the Apocalypse before you. 'Optimistic' rocks in a very unusual way: the band provides a solid, thumping rhythm and a really cool riff, but the sound is awfully muffled - on purpose, I presume - and 'In Limbo' follows, with a truly awesome rhythm and those guitar arpeggios, ending with really freaky screams and sound effects. Kinda scary, you know. And there's 'Morning Bell', with vague lyrical themes. I don't want to guess what <em>exactly</em> the lyrics are talking about, but they ARE talking about <em>something</em>. And the words 'cut the kids in half' are alarming, whatever it's refering to. And the music is also great and bitter, with more of those electric pianos, and a funky, odd rhythm. And... OH, there's 'Idiot&eacute;que'. It's a "dance" song, but you cannot dance to it. It's way too heavy and dark to be danced. It's, after all, a PARODY on dance music: it turns mankind into an "idiot&eacute;que". Maybe the music's repetitive and long, but it's brilliant.</p>

<p>But everywhere else, you have to enjoy those "out of your body" sounds. I'm absolutely fascinated by 'How To Disappear Completely', describing <em>with perfection</em> the feeling of an out-of-body experience - I never had any, but if I ever have one, I just KNOW it will feel like this song. It's not just the lyrics or vocals: it's also those simple, but gorgeous descending sounds and the string arrangements. And 'Treefingers' is... unusual. In essence, it's just a lot of "ambient" guitar noise Jonny produced with his guitar, taking the shape of an ambient "song". You may not mind it, but I think it works <em>wonders</em> as a "coda" to 'How To Disappear Completely', and as the closer of the first half of the album. Beautiful stuff.</p>

<p>And the closing track, 'Motion Picture Soundtrack', completes the journey in a soul-crushing way. It's called that because the band thought it sounds like those songs played when the credits roll, but it actually sounds like Death. Not in a "scary" way, but in a "this is Heaven" way: ironic tear-inducing organ, choirs, harp, and Thom. "I will see you in the next life". Chilly! What does it mean? Well, I don't know. This album is the typical "find a meaning for these songs" album that kids love. Is it a concept album? Hmm, I don't know, but I like to think it isn't. I don't really try to see any meaning in the lyrics. I just get grabbed by the meaninglessness of it all and give in to the music. It's that great. Difficult, yes, but the record company there would be some "normal" Radiohead material coming soon.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>15/15</strong></big> - I said it all in the review, already.<br />
  <big>Resonance:   <strong>14/15</strong></big> - Really messes with your brain, but in a lower scale... if you understand me.<br />
  <big>Originality: <strong>15/15</strong></big> - Erm, well...<br />
  <big>Richness:    <strong>15/15</strong></big> - Yeah, you guessed it. It's <em>stuffed</em> with tasty stuff.<br />
  <big>Solidness:   <strong>15/15</strong></big> - It's really a solid experience - there isn't a single weak moment in the entire album.
</p>

<p class="ratingFinale">
  Total: <img src="images/14.png" alt="14">
</p>

<p>Any ideas? <a href="mailto:sirmustapha@gmail.com">Use your mail</a>!</p>

<hr />

<h2 id="amnesiac">Amnesiac (2001)</h2>
<p class="medium">
  Best song: <em>Gah! Ok, I'll choose </em><big>Pyramid Song</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Packt Like Sardines In A Crushd Tin Box <span class="good">+</span></li>
  <li><span class="good">Pyramid Song ++</span></li>
  <li>Pull/Pulk Revolving Doors <span class="good">+</span></li>
  <li>You And Whose Army?</li>
  <li>I Might Be Wrong</li>
  <li>Knives Out <span class="good">+</span></li>
  <li>Amnesiac / Morning Bell</li>
  <li>Dollars And Cents <span class="good">+</span></li>
  <li>Hunting Bears <span class="good">+</span></li>
  <li>Like Spinning Plates <span class="good">+</span></li>
  <li><span class="good">Life In A Glass House ++</span></li>
</ol>

<p>Er, I guess this is not that "normal" material they said Radiohead was putting out. Essentially, <strong>Amnesiac</strong> is a collection of loose ends from the <strong>Kid A</strong> sessions assembled into an album. I can't really call this a compilation of "outtakes", really, but I can call this the wildest, loosest album Radiohead ever put out. That doesn't mean the album isn't good, but it also doesn't mean it <em>is</em> good either. Fact is, you'll witness the band doing a <em>lot</em> of things you never thought they would do, and the results are... mixed.</p>

<p>I say, there aren't bad tracks here. But there <em>are</em> tracks I don't care much about. Say, the rearrangement of 'Morning Bell' doesn't really do much to me. It's slow, jangly and mellow, and for whatever reason, it doesn't really touch me too much. Maybe it's the existence of the far superior version on <strong>Kid A</strong>, but I don't know. Likewise, 'I Might Be Wrong' tries to be a funky, "muffled" rocker in the vein of 'Optimistic'. It has a cool riff, but doesn't really develop it too much.</p>

<p>Oddly enough, I <em>do</em> like 'Pull/Pulk Revolving Doors', which is the most easily dislikeable track here. After all, it's pretty much <em>just</em> a collection of electronic loops: weird, disorienting rhythms, strangely pleasant pingy tones, video-game-like bloops, wheezy synth noises... A lot of stuff. And on top of it all, Thom speaks about doors of all kids - trap doors, front doors, revolving doors and doors that "you can't come back from." I suppose I like it because of all sorts of visions it gives me - doors opening and closing all around me in an illogical hallucination. It's "weird", but it doesn't get away just with weirdness... It's like there's something else there.</p>

<p>Of course, you should be warned that there's plenty of "weird" stuff here. <strong>Kid A</strong> became such a perfect, solid, untouchable piece, that the wild bits of experimentation had to be left out, and they're all thrown here. And as a result, you've got a patchwork of weird bits that don't quite work on their own, but that form a very interesting vision when taken as a whole. And it's interesting because the album didn't really <em>write</em> this album from beginning to end. If they did, it would probably have not been that good. After all, one thing is when you counsciously try to tackle styles and genres you never tried before and pass it off as "diversity", and something else is when you experiment with styles like your life depended on it, and realise the results are pretty good. And that's why this album is everything that the Beatles' White album always wanted to be, but wasn't.</p>

<p>Alright, alright, I'm being silly. But still, the Beatles could only wish they could come up with a song as unusual and moving like 'Life In A Glass House'. Come on, tell me you expected Radiohead to bring brasses and woodwinds to make this depressed-jazz anthem and come up with a masterpiece? Yeah, I admit the song gains at least half of its power in the ending, with that big climax and Thom's almost desperate vocals. Still, that's not something you'd see from the band everyday.</p>

<p>And here, you've got one of the band's most successful songs so far, 'Pyramid Song', and it's quite inexplicable. It's got that undecypherable time signature and haunting piano chords. And I love the way the melody has that Egyptian flavour, but it never throws it in your face gratuitously. In the end, it's another jazzy piece with haze all over it, but the effect is impressive. And if that's not enough, there's the hopeless <em>Gospel</em> of 'You And Whose Army?'. It's nothing new to hear Thom singing with a defeated and miserable voice, but with <em>music</em> like this? Slow and dead at the beginning, and then turning loud, bombastic and <em>dead</em> at the ending? Check it out for yourself. Other tracks worth checking out are 'Knives Out', a seemingly "normal" Radiohead song, with a rhythm slightly reminescent of 'Blow Out', heavy on guitar arpeggios and jazzy patterns; and the even jazzier 'Dollars And Cents', one of the most unsettling songs here.</p>

<p>In the end, you've got the more "electronic" efforts. 'Packt Like Sardines In A Crushd Tin Box' is funky, with odd percussion sounds, but it's just as metallic and hollow as 'Idiot&egraveque', if not even more. In fact, its placement right at the beginning of the album confused me on first listen - even Thom's voice sounds different, singing on a lower register (!). And 'Like Spinning Plates' is one of the band's most adventurous songs, featuring backwards keyboard and that vocal trick of singing <em>backwards</em> and then reversing the recording.</p>

<p>You know? Most of this review probably didn't help you at all. But I just need to say that I do like this album, perhaps even more than I should. But the truth is that I'm pleased to see the band putting out something so different and adventurous. The band gets odd ideas and executes them, and they don't sound like "novelty" stuff. You can easily take this as an "artistic statement". And, you know, when it comes to Radiohead, you <em>have</em> to take their stuff as artistic statements. And if you think they're just pretentious hacks, well, you'd better find another band to listen. I like 'em, and I like this album, even though I don't listen to it much.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Nowhere you can find so much twisted fun.<br />
  <big>Resonance:   <strong>11/15</strong></big> - You'd expect anything but resonance in an album like this.<br />
  <big>Originality: <strong>14/15</strong></big> - 'Nuff said.<br />
  <big>Richness:    <strong>13/15</strong></big> - Many, many catchy and memorable stuff among all the weirdness. Maybe the weirdness itself is catchy!<br />
  <big>Solidness:   <strong>11/15</strong></big> - It's a patchy record. It's <em>supposed</em> to be.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12">
</p>

<p>You can send me your comments <a href="mailto:sirmustapha@gmail.com">here</a>!</p>

<hr />

<h2 id="thief">Hail To The Thief (2003)</h2>
<p class="medium">
  Best song: <big>A Wolf At The Door</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">2+2=5 ++</span></li>
  <li>Sit Down, Stand Up <span class="good">+</span></li>
  <li>Sail To The Moon <span class="good">+</span></li>
  <li>Backdrifts</li>
  <li>Go To Sleep <span class="good">+</span></li>
  <li>Where I End And You Begin</li>
  <li>We Suck Young Blood <span class="good">+</span></li>
  <li>The Gloaming</li>
  <li><span class="good">There, There ++</span></li>
  <li>I Will</li>
  <li>A Punchup At The Wedding <span class="good">+</span></li>
  <li>Myxomatosis</li>
  <li>Scatterbrain <span class="good">+</span></li>
  <li><span class="good">A Wolf At The Door ++</span></li>
</ol>

<p>This is the point in Radiohead's carreer in which a band has to stop and think. After all, they rushed headlong into "experimentality" and released the completely unexpected <strong>Kid A</strong> and the completely unpredictable <strong>Amnesiac</strong> in one shot. So, what does a band do from there? Keep on expanding on top of the same philosophies and ideals? Break off into a completely different route once again? Go "back to their roots"? Or surrender once and for all to the Aphex Twin inside? Well, every direction has its traps and pitfalls, and a big reward at the end of the journey to the most devoted and talented man. So what Radiohead did was... to continue doing what they were doing already. To finish what they started, perhaps.</p>

<p>But if there is a reward at the end of this road, Radiohead already found it - <em>twice</em>. Could they possibly hit the jackpot <em>again</em> and come out with yet another one-of-a-kind masterpiece? I guess they <em>could</em>, but unfortunately, <strong>Hail To The Thief</strong> is a bit far from a masterpiece. And to make things a bit more annoying, I can't think of this album pointing towards any direction - if there <em>is</em> any direction, it's backwards. This album kind of positions itself in between <strong>OK Computer</strong> and <strong>Kid A</strong>, making a sort of "lost link" between the two albums. There's the more straight-to-the-point rock music they used to do, but the sound is still dry and cerebral as their more recent releases. I just can't think of this album as an "advancement", though.</p>

<p>But when taken <em>on its own</em>, and observed in its own, little universe, the album's just very, very good. It's no sub-par material, and still brings some of those treasurable moments and unforgettable songs that make full justice to the band's legacy. It's a bit hit-or-miss, though... with fourteen songs in the track list, many of them do fall in those grey areas between people's tastes, you know. And not even I can say I love them all. I don't dislike any of them, though. I can't look at the tracklist and point my finger to any of those tracks and say "this is a <em>definitive</em> duffer". There <em>are</em> very strong highlights, though! You probably already know which ones they are, by now, but it's never such a bad deal mentioning them all over again.</p>

<p>My favourite, after all this time, is 'A Wolf At The Door', and even today, just remembering the song leaves no doubt about that in my mind. It's one of those rare moments in the band's catalogue where the music truly jumps out of the speakers and <em>grabs</em> me with all its might. You have the constant conflict between the sluggish keyboard arpeggios and Thom's fast, neverending verbal attack - he just moans and mutters those words, but the effect is very unnerving, you know! The song creates a gut-wrenching, wicked kind of beauty as it goes, and it one of their finest hours, indeed. You may have a very different opinion on that one, alright, but one song where we just <em>can't</em> disagree is the classic, unforgettable album opener. '2+2=5' moves, grooves and jerks along, with dozens of moments of sudden catchiness and brilliance. It's a short, yet big outburst of energy, and it will be over before you notice it - but, oh, do I love it.</p>

<p>Everywhere else, you've got several songs falling in the several areas in between "electronica" and "alt rock", or whatever they call it. In some moments, Radiohead goes for something more "normal", like the groovy, funky 'Where I End And You Begin', with a lot of that computerised gloom and darkness, a cool rhythm underneath it and Thom's disimbodied vocals. 'A Punch Up At The Wedding' is way slower, but no less groovy. Instead of jerky and funky, it's sluggish and drunken - in a good way, of course. Other favourites include 'Go To Sleep', a nice, almost poppy tune. It's certainly one of the most "release me as a single! NOW!" songs in the album, and a good one. The first single, though, was 'There There'. And there's still something strange and charming in that song that I just can't put my finger on. What I <em>can</em> put my finger on is that deep, pounding drum rhythm and the eerie, floating vocal melody. People just don't make songs like that everyday, you know. They come out of nowhere, leave a mark in your soul, and leave. Simple as that: I was never able to truly grab the song's beauty, and I doubt I ever will. Is that just a lame excuse to justify that I <em>don't know</em> why the song's that good? That's the fun of music.</p>

<p>'I Will' won't really jump at you, since it's so short and understated, but it's pretty! And the chord sequence is exactly the same as the one of 'Like Spinning Plates', but backwards! Cool, eh? 'Sail To The Moon' is one of their most beautiful ballads, on the other hand - beautiful piano, untrivial structure and melody... just another song that makes you think that Thom has a <em>soul</em>, however difficult it is to believe that. I'm also terribly partial towards the short, gentle, beautiful 'Scatterbrain'. It's truly clever music writing, with those chords and that melody. Very nice! As for the others, they kind of vary. There are the electronic "experiments" mixed into the brew: 'The Gloaming' is, on surface, a mix of weird electrical sounds and loops with another eerie, floating melody on top. It's not too different from 'Pull/Pulk Revolving Doors', albeit less rhythmic, slower, and with a melody. 'Backdrifts' has more of those dark, gloomy loops and synthesizers humming kind of backwards. It's good, and goes a little longer than you'd expect it to go. It's not 'Everything In Its Right Place', but not a bad offering at all. 'Myxomatosis' is just unlike anything they did to this point - it's got a fast, funky rhythm, a fuzzy bass riff and whatever else you can throw on top. It's one of those "polarising" songs, you know, and I'm not crazy about it. 'Sit Down, Stand Up' is great, though! It certainly works as proof that there are <em>brains</em> working behind those experiments. This isn't just electronica for its own sake - it's a clever, beautiful composition, bringing in a combination of eerie instruments and sounds in a slow, unnerving build-up, and in the end, it turns into a fast-forward electronic rhythm with robotic chanting and the feeling of speeding down a dark tunnel, without being able to see the end of it, and without knowing when you actually got out of it, since it stops so suddenly.</p>

<p>I still don't know where to put 'We Suck Young Blood', though. I suppose there's no category for it, after all... It's pretty much a funeral march, with deadly piano chords and ghoulish vocals, and those disturbing handclaps all the time. It's still good! And what's more freaky is that the band is able to pull it off <em>without</em> sound ridiculous! It's almost like they're <em>unaware</em> they're playing a song like that! They play it like it was just another everyday Radiohead tune. Creepy, huh? I just dig the song, that's all. And overall, the album is very good. It's kind of useless to say it's "one of their best", after all, they only have six albums. So, it's even one of the three best records, or one of the three worst. It's definitely one of the three best, though, and a nice introduction to the band, if you don't want a very rude introduction. And it's a reasonable purchase if you're used to the band until <strong>OK Computer</strong> and don't feel quite ready to stomach <strong>Kid A</strong> just yet.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - A bit hit-or-miss, but mostly hit.<br />
  <big>Resonance:   <strong>12/15</strong></big> - As ghoulish and detached and disimbodied as ever, but good at it!<br />
  <big>Originality: <strong>13/15</strong></big> - Hm. It's not Earth-shattering, for sure.<br />
  <big>Richness:    <strong>14/15</strong></big> - Oh, yes! It doesn't disappoint.<br />
  <big>Solidness:   <strong>13/15</strong></big> - Not much to complain about.
</p>

<p class="ratingFinale">
  Total: <img src="images/13.png" alt="13">
</p>

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